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The following year (1955), director, screenwriter Clyde Bruckman ( suffered from alcoholism which " . . . lost him jobs on major movies . . . " On the other hand, Universal used some of his writing in his later years, but he had to sue for payment. As noted earlier, Bruckman, " . . . was awarded several million dollars in damages (but, the) . . . incident made it (even more) difficult for (him) . . . to find work . . . (i.e., he was effectively blacklisted). In 1955 he borrowed (Buster) Keaton's pistol 'for a little target practice.' He left a note to his wife . . . went into a phone booth on Santa Monica Boulevard . . . " and shot himself in the head. Katz reports, on the other hand, that Bruckman " . . . shot himself to death in the rest room of a Hollywood restaurant after a meal for which he could not pay."

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Quoting a movie line in an essay : Essays in politics

Others have admitted that films changed the way they think about particular issues. In the Rosenberg book , contributing essayist and Princeton University Professor Russell Banks states that " . . . there have been many movies . . . which altered my thinking about the world and thus about myself and which, therefore, could be said, to a greater or lesser degree, to have changed my life." Banks also admits that " . . . a single movie (released in 1942) did have the capacity to alter and then shape my inner life with a power, clarity, and speed that would never be available to me again." Banks reports that this single movie " . . . describes and proscribes (from birth to death) the territory of a male life in a sequence that follows exactly the Victorian and modern middle-class view of that life properly lived." Banks also states that both the movie and the book on which it is based are " . . . moral tales about the proper relations between the genders, told for boys from the Victorian male point of view." "This movie . . . " Banks suggests " . . . is only going to drive (kids) . . . deeper into sexual stereotyping . . . to validate the worst attitudes of the adult world that surrounds . . . " them. The movie is Disney's based on the book , by Felix Salten, translated in 1928.

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As the chapter entitled "Who Really Controls Hollywood" concludes, Hollywood still appears to be controlled by a small group of Jewish males of Eastern European heritage who are (generally speaking) politically liberal and not very religious (the traditional Hollywood management). This chapter (and the underlying basis for its conclusions as reported in the companion volume A) confirms that such control is reflected in the kinds and content of the motion pictures produced and released. Thus, so-called mainstream American movies, do not appear to adequately reflect the nation's multi-cultural diversity, but instead appear to reflect a consistent pattern of bias in favor of those who control Hollywood and against those who do not control Hollywood.

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Michael Fleming wrote in March of 1992: "If gay groups were upset by , wait till they see a scene from Columbia's , starring Damon Wayans . . . In the movie scene . . . Wayans tries to pass a bad credit card. He escapes scrutiny by mimicking an effeminate character . . . " In August of that same year (1992), magazine subscriber (and/or reader) William Stosine responded to an earlier Michael Douglas article in the same magazine. Stosine stated: "As a gay man, I'd like to respond to Michael Douglas' question about why gays are so upset by . Douglas asks: 'Should WASPS be the only villains?' Of course not. It's a matter of balance. The fact is that gays [as presented in movies] are never anything but villains and buffoons, and we're sick of it. It doesn't take an Einstein to figure out that constant negative portrayals of gays in the media result in homophobic attitudes in real life." Once again, constant negative portrayals of any segments of our diverse society in our mass media will tend to result in negative attitudes directed toward those same populations.

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Native Americans--Although a few somewhat more sympathetic portrayals in movies have occurred in recent years, American Indians have long been victims of the Hollywood stereotype, although more recently they have simply been ignored. By 1964, Marlon Brando was making appearances at protests on behalf of American Indians. In 1973, when he won the Best Actor Academy Award for his portrayal of Vito Corleone, he " . . . sent an Indian woman named Sacheen Littlefeather to reject the award, saying he could not accept it 'because of the treatment of American Indians in the motion picture industry, on TV, in the movie reruns and the recent happenings at Wounded Knee.'"

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Even though we might all agree that Nazis are appropriate movie villains, the concern expressed here centers on the fact that if a narrowly defined interest group that happens to control Hollywood is allowed to obsessively portray its most despicable enemies through a disproportionate number of movies showing them as villains, then all other groups that have any interest in portraying someone else as a movie villain are arbitrarily prevented from doing so. Thus, the proliferation of Nazi villains in Hollywood films, not only confirms the priorities and biases of the Hollywood film community, it precludes others from telling their important stories through films that are available to be seen by large segments of the American and world publics.